The Mastering Engineer's Handbook 4th Edition

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As a result, the hard part is not sourcing opportunities but filtering: saying "no" to demands on your time and continuously reassessing your role in existing commitments; the hard part is being deliberate in what important problems you have to say "no" to. I’ll think that I really didn’t do much of anything and then I’ll look at a mix and find that I’m using 50 things on it. Add additional reverb or delay to an instrument when it gets masked as other instruments are added to the mix. Learn the art of mixing from start to finish by using the tips and techniques from the pros, with The Mixing Engineer’s Handbook, 5th Edition. Of the microphones that we used, 67’s were probably the favorite (and still are today), but we used 47’s, 251’s, a lot of KM 56’s and 54’s, ribbon mics, AKG D-12’s, D20’s and D30’s.

Your job is to partner with TLs and experts closest to the problem domain and work together to identify the path to the best outcome.

I use compression because it’s the only way that you can truly modify a sound because whatever the most predominate frequency is, the more you compress it the more predominate that frequency will be. But before we can talk about how to make a great mix, it’s good to be aware of the signs of one that isn’t that great.

I loved Jimmy Hendrix at that point more than anything, so it didn’t exactly impress me that Jimmy Page was there to work.You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice.